Attributed to François Venant Middelburg circa 1591 - 1636 Amsterdam

J. van Dam, Leiden;
Gevers, Noordwijk;
With D. Katz, Dieren.

E. Plietzsch, in Jahrbuch der Königlichen Preußischen Kunstsammlungen, Vol. 37 (1916), p. 105, nr. 8 (as by P. Bor);
V. Bloch,'Zur Malerei des Paulus Bor', Oud Holland, 45 (1928), p. 22 (as not by P. Bor);
J.W. von Moltke, Die Gemälde des Paulus Bor von Amersfoort, Westfalen, 55, 1977, p. 147 (as not by P. Bor).

The actual painting is a bit warmer in tone and has less contrast in the colours than the catalogue illustration suggests. The canvas has a recent relining. The painting is somewhat flattened, probably due to the relining. No damages are visible to the naked eye and the paint surface seems to be in good condition. The paint surface is under and thick, recent varnish layer, slightly glossy. Inspection under UV-light reveals retouchings throughout, but especially in the entire background, the white hues of the costumes and in the fleshtones, e.g. of the Virgin, the infant Christ and the first king. Retouchings are also visible in the yellow attire of the boy outer right and in the orange cloak of the first king as well as in the foreground area, particularly in the architectural elements. The painting seems to be recently restored. Offered in a gilt and black wood frame, richly embellished, in very good condition. (JD)
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

François Venant, one of the youngest of the so-called Pre-Rembrandtists, was much inspired by the works of his brother-in-law Pieter Lastman (1583/4-1633). Only one monogrammed painting by him is known, which forms the basis for establishing his oeuvre. This is The Farewell of David and Jonathan in the Fondation Custodia, Paris.  J.G. van Gelder was the first in 1937 to attribute some paintings to the artist, followed by J. Bruyn in 1997 (see J.G. van Gelder, 'François Venant, schilder' in: Oud Holland, 54, 1937, pp. 137-8 and J. Bruyn, 'François Venant, Enige aanvullingen' in: Oud Holland, 111, 1997, pp. 163-76 ). 

Offered with an expertise, dated 27th of June 2002, of Dr. P. Huys Janssen, attributing the present work to François Venant, on the basis of a photograph.